Niranjaner Ushma : Between the Lines and Beyond/ নিরঞ্জনের উষ্মা : পাঠে-পাঠান্তরে

Abstract

Niranjaner Rushma (or Ushma) by Ramai Pandit is an integral part of Shunyapurana. The mythological, historical and social significance of this particular section stands as a cornerstone in the pre-modern Bengali Mangalkavya literature. There is no concrete etymology for the word ‘Rushma’. It can happen that while reading or listening, there were some errors in comprehending; Or else there is a possibility that, this new term was strategically coined to imply the fiery wrath of Dharmaraj! In essence, Niranjaner Ushma is a fragment of the ‘Jalali Kalima’, vividly depicting the Turkic conquest of Jajpur in Odisha. Here, the story unfolds the torture of rapacious Brahmins for honorarium and the exploitation of the common folks which are beyond words. Into this turmoil, Dharmathakur emerged in the disguise of a Yavana who strategically put them in their places and hence justice prevailed.

          Many celebrated historians of literature had framed the context of this piece as an era of conflict between Hindu-Buddhist ideologies. And so, in the fading twilight of Buddhism, we witnessed that Brahmanical culture rose to ultimate dominance and tyranny and as an expected outcome, persecuted Buddhists (Saddharmi) dived into the open arms of Islam. This chapter, stained with both power and pain, lingers in the annals of literature as a silent witness. Literature remembers this not as history, but as confession.

          Perhaps scholars like Haraprasad Shastri, Nagendranath Basu or Dineshchandra Sen would delve into the political history of 10th–12th century of Bengal and dig up evidence—tracing the rise of royal dynasties (the Sens, Varmans, Chandras, Devas or Khargas). These kingswere devoted patrons of Brahminical culture. So, regionally the rise of the Brahmin community as the economic and religious superiors in Bengal’s society was the real driving force behind this phenomenon.

          Not only West Bengal, esteemed historian of the East Bengal, Ahmed Sharif has also declared ‘Bada Jalali & Chhota Jalali’ Kalima as a burning evidence of the seething rage and bitter defiance of an near-extinct Buddhist community against the expanding, oppressive Brahminical order. According to the author of “Bangla Sahitya Kosh”, Mr. Wakil Ahmed also interpreted that ‘Niranjaner Rushma’ is nothing but a literary historic instance of the desperate surrender of the oppressed Buddhists who are trying their best to escape from the pathetic tyranny of Brahmins. In his words, this persecuted community maintained a safe distance and enjoyed the conquest of Turks and the shameful downfall of the Brahmins. As a token of gratitude towards Muslims, they worshipped Niranjan dharma infused with Islamic monotheism. In ‘Niranjaner Rushma’ there is a subtle hint of socio-religious shift where the oppressed Buddhists started to get converted in Islam in a large number.

          On the other contrary, historian of Bengali Language, Dr. Sukumar Sen will emphasis that ‘Jalali Kalima’ is nothing but a reminiscence of the rapid raid of Delhi Emperor Badshah Firoz-Shah-Tughlak in Bengal and Odisha during the 14th centuries.

          Moreover, entirely refuting the imagined periodization of Hindu-Buddhist conflicts, Shashibhushan Dasgupta would shift the focus and add: The residues of Buddhism, the framework of Hindu popular thought, certain indigenous non-Aryan ritual practices, and the ethos of Islamic ideology formed into an entirely new tapestry of folk ‘Dharma’.

          But we’d argue that interpreting this from such scattered, fragmentary angles misses the bigger picture. Take the Ramai Pandit’s scripture on Dharma worship rituals (Vishwabharati MS No. 129)—when we piece together the stories before and after ‘Niranjaner Ushma,’ a fascinating narrative unfolds. Here, the Dharma worshippers’ belief system describes the cosmic creation process of Dharma-Raja himself, where diverse human races emerge—and right there eventually, the almighty Niranjan (in his form as Khoda) was creating the Muslim community.

          Dharmapandit Ramai had replaced Hindu deities like Karticka, Ganesha, Brahma, Vishnu, Maheshwara, Chandi Mata, Manasa etc with Kaji, Gaji, Khoda, Pekambar, Baba Adam, Fakir, Nurbibi etc. This is nothing but Hindu mythological pattern. A hallmark of Hindu mythic tradition is its syncretic impulse—assimilating disparate beliefs by refracting them through the prism of its own deities. In the ecumenical vision of devout seekers, Gods and Goddesses of all faiths converge under one roof; where Khoda, Ishwar, and Dharmathakur had unified into one entity and created this cosmos. In the alchemy of converging divinities, ‘Niranjaner Ushma’ kindles into scripture where all faiths dissolved into a single syllable.